Torme’ Centennial

Happy 100th birthday to the late, great Mel Torme’!!

Melvin Howard Tormé was an American musician, singer, composer, arranger, drummer, actor, and author. He was a jazz icon. He won two Grammy Awards and was nominated a total of 14 times.

Mel grew up in a largely black neighborhood and was heavily influenced by jazz. He was a child prodigy, who performed professionally at age four with the Coon-Sanders Orchestra. He would sing “You’re Driving Me Crazy” – a song he had learned on the radio, at Chicago’s Blackhawk restaurant. He was invited back and sang every Monday night for six months. It wasn’t a bad first gig. He was paid $15 a night with a free dinner for his family.

From 1942 to 1943, he was a member of a band led by Chico Marx. He was the singer and drummer and also created some arrangements for the band. In 1944, he formed a vocal quintet called Mel Tormé and His Mel-Tones. His group was modeled on Frank Sinatra and The Pied Pipers. The Mel-Tones had several hits while fronting Artie Shaw’s band and on their own. The Mel-Tones were among the first jazz-influenced vocal groups.

In 1947, he started a solo singing career. His appearances at New York’s Copacabana led local disc jockey Fred Robbins to give him the nickname “the Velvet Fog” in honor of his high tenor and smooth vocal style. Mel detested the nickname. He self-deprecatingly referred to it as “this Velvet Frog voice”.

As a solo singer, he recorded several romantic hits for Decca records and with the Artie Shaw Orchestra for Musiccraft (1946–1948). In 1949, he moved to Capital records, where his first record, “Careless Hands”, became his only number-one hit.

Though he spent most of his career singing jazz, Tormé had a deep appreciation of classical music. As for Rock and roll … he considered “three-chord manure”.

In the ’60s and ’70s, Tormé covered pop tunes of the day, never staying long with one label. He had two minor hits: his 1956 recording of “Mountain Greenery”, which did better in the United Kingdom where it reached No. 4; and his 1962 R&B song “Comin’ Home Baby”, which reached No. 13 in the UK. “Comin’ Home Baby” led the jazz and gospel singer Ethel Waters to say that “Tormé is the only white man who sings with the soul of a black man.”

He gained popularity among a younger generation when he made nine guest appearances as himself (and one as a guardian angel) on the 1980s situation comedy Night Court. The main character, Judge Harry Stone, played by Harry Anderson, was depicted as an unabashed Tormé fan, an admiration that Anderson shared in real life. Anderson would deliver the eulogy at Tormé’s funeral.

Mel also appeared in Mountain Dew commercials and in a 1995 episode of the sitcom Seinfeld as himself. This is in one of my favorite episodes – “The Jimmy.”

During the 1980s and 1990s he performed often with piano great George Shearing. They recorded six albums together for Concord Records. It was about this period Shearing wrote:

It is impossible to imagine a more compatible musical partner… I humbly put forth that Mel and I had the best musical marriage in many a year. We literally breathed together during our countless performances. As Mel put it, we were two bodies of one musical mind.

Mel Tormé wrote more than 250 songs, several of which became standards. He often wrote the arrangements for the songs he sang. He collaborated with Bob Wells on his most popular composition, “The Christmas Song”(1946). They wrote the song on a swelteringly hot and sunny day in California, sitting down and coming up with all the most ‘mid-wintery’ things they could think of, in an attempt to cool themselves down; it was recorded first by Nat King Cole. Tormé said that he wrote the music in 45 minutes and that it was not one of his favorites, calling it “my annuity”

I had the chance to see him when he toured with Doc Severinsen. He was fantastic! He owned that stage and had the audience in the palm of his hand. That concert remains one of the best concerts I have ever been to. He blew me away when he joined Doc for Sing, Sing, Sing and played the drums. It was amazing.

On August 8, 1996, a stroke ended Tormé’s 65-year singing career. In February 1999, he was awarded the Grammy Lifetime Achievement Award. He died from another stroke on June 5, 1999, at the age of 73

In his eulogistic essay, John Andrews wrote:

Tormé’s style shared much with that of his idol, Ella Fitzgerald. Both were firmly rooted in the foundation of the swing era, but both seemed able to incorporate bebop innovations to keep their performances sounding fresh and contemporary. Like Sinatra, they sang with perfect diction and brought out the emotional content of the lyrics through subtle alterations of phrasing and harmony. Ballads were characterized by paraphrasing of the original melody which always seemed tasteful, appropriate and respectful to the vision of the songwriter. Unlike Sinatra, both Fitzgerald and Tormé were likely to cut loose during a swinging up-tempo number with several scat choruses, using their voices without words to improvise a solo like a brass or reed instrument.

They were two of the best scat singers. Watch this magical improv moment with Ella and Mel:

Happy 100th birthday, Mel!

Source: Wiki

Turntable Talk #34 – What’s My Scene?

Welcome to the first Turntable Talk of 2025, hosted by Dave of A Sound Day. This is the 34th round, if you are keeping track. If you are a new follower, let me fill you in on how it works. Dave Ruch offers up a musical topic to a group of us music fans each month. Each of the writers come up with a response to the topic and Dave runs each piece on his website.

We have had some fun and interesting topics, and this one is no exception. This time around, Dave asks, “What’s my scene?” Our instructions: Pick a sort of music “Scene” that either you would have liked to have been a part of or one that you think really created a lot of the music you love. Pick a general place and time and have fun….

My fellow music bloggers know my musical tastes pretty well by now. So, let’s see a show of hands – How many thought I’d pick The Rat Pack in Vegas? I almost did, but I know I have written on a live Rat Pack show in the past. Honestly, as awesome as that would be, the more I thought about it the more I leaned another way.

My scene certainly influenced the Rat Pack. Dean Martin cut an album called Swingin’ Down Yonder. Frank Sinatra recorded albums titled: Sinatra Swings, Songs for Swingin’ Lovers, Swing Easy, Sinatra’s Swingin’ Session, Sinatra and Swingin’ Brass, and A Swingin’ Affair! You know what the song says, “It don’t mean a thing, if it ain’t got that swing!”

As a mediocre trumpet player, I have always loved Big Band/Swing music. Most folks would consider the Swing Era to be from the early 1930’s to around the mid 1940’s. Even though swing music was prominent in the early 1930’s, it was often ridiculed for its style and feel. Some went as far as to call it a menace (much like Rock and Roll when it gained popularity). After 1935, big bands rose to prominence playing swing music. They held a major role in defining swing as a distinctive style.

There were many big bands on the scene at this time. Each had a very distinct sound and feel to it. For example, Glenn Miller’s orchestra often used a clarinet lead. Count Basie’s sound has a relaxed feel to it. Benny Goodman used a driving and hard swing sound. Duke Ellington’s songs has a sophisticated sound to them.

The band leaders often took the spotlight. They were amazing instrumentalists. Harry James and his trumpet, Benny Goodman and Artie Shaw on their clarinets, Gene Krupa on his drums, the trombones of Tommy Dorsey and Glenn Miller, and Lionel Hampton’s vibes. Along with those great leaders, there were plenty of talented musicians within those bands who went on to make a name for themselves.

Perhaps Sinatra recorded his many swing songs because he rose to fame alongside Tommy Dorsey. He was one of many singers who sang with those big bands. Others included the voices of Ella Fitzgerald, Billie Holiday, Kay Starr, Peggy Lee, Doris Day, Kitty Kallen, and Dick Haymes. While they all started with the big swing bands, they also went on to have prolific careers.

During the swing era, the big bands would often play at dance halls across the country. They appeared on the radio playing dance music. Some appeared in movies, and all of them made records. Their music had teenagers and young adults dancing until their feet hurt.

As years went on, the taste of music listeners changed. Swing began to fade away to make way for music that was less “danceable” like bebop. Many of the swing bands broke up, while other continued without their original leaders. The Glenn Miller Orchestra still tours today, for example.

When I put on headphones and listen to old big band recordings, I picture myself there listening. I picture myself in one of those great 1930’s suits with a stylish fedora.

Maybe it is in a dance hall or at a live concert. Maybe I am in the audience of a radio program where the band is playing. Wherever the music is being played, I am zoned in on it. I am listening to the drum beat of Sing, Sing, Sing and Benny Goodman. I can hear the vibrato of Tommy Dorsey’s trombone solo on I’m Getting Sentimental Over You. I marvel as I watch and listen to Harry James play his theme song, Ciribiribin.

Throughout the evening, I will study those great instrumentalists who improvise solos off the top of their head. Looking at nothing but chords and making up their own melodies. This is something I wish I could do as a trumpet player.

In all honesty, in my “scene,” I would be happy as a clam to just be in the audience. It would be the bees knees just watching those guys swing! Yeah, I can totally see myself swinging, singing, and dancing to the sounds of swing.

Thanks again, Dave for inviting me to take part in this feature. It is always fun to contribute and to read the other submissions. I’m already looking forward to next month’s topic!

Tune Tuesday

The clarinet celebrates birthday 335 today, and in honor of that, it is Clarinet Day!

January 14th is the day the clarinet was invented in Nuremberg, Germany in 1690. The instrument was created by German instrument maker Johann Christoph Denner, or possibly his son Jacob.

It had developed from much earlier reed instruments, going right back to Ancient Greece and Egypt. The chalumeau was a Baroque single reed woodwind instrument originating in France where its use spread to Germany.

Denner developed the instrument. He equipped a chalumeau in the alto register with two keys, one of which enabled access to a higher register. This second register did not begin an octave above the first, as with other woodwind instruments. Instead, it started an octave and a perfect fifth higher than the first. A second key, at the top, extended the range of the first register to A₄ and, together with the register key, to B♭₄. Later, Denner lengthened the bell and provided it with a third key to extend the pitch range down to E₃.

In the days of the Big Bands, there were plenty of well known clarinetists. Benny Goodman, Artie Shaw, and Woody Herman all played clarinet and had their own big bands. They also had hits that featured clarinet solos (Let’s Dance, Begin the Beguine, Woodchopper’s Ball).

As far as pop hits, there are a couple that spring to mind that feature the clarinet. The first was from Mr. Acker Bilk.

Bilk wrote Stranger on the Shore for his young daughter and originally named the song “Jenny” after her. The tune was written on a single scrap of paper by Bilk and handed over to arranger Leon Young. Young crafted the string arrangement, including the characteristic harmonic shifts at the very end.

The song was a number one in the UK and the biggest selling English single of 1962. In May of 1962 it became the first British recording to reach number one on the U.S Billboard Hot 100 Chart.

The other pop clarinet hit comes from the Fab Four. Paul McCartney wrote the melody for When I’m 64 when he was just 14 years old. It was one of the first songs he ever wrote.

The song features a clarinet trio – 2 B flat clarinets and a bass clarinet. The song was scored by George Martin, who said the clarinets were added at McCartney’s request. The reason for this was to “get around the lurking schmaltz factor” by using the clarinets “in a classical way.”

Paul McCartney suggested speeding up the track to raise the key by what musicians call a semitone. A semitone is about a half step. So speeding up the track took it from C major to D flat major. George Martin remembers that McCartney suggested this change to make his voice sound younger.

Musicologist Michael Hannon had this to say about the completed track:

“The rich timbres of the clarinets give the mix a fuller, fatter sound than many of the other tracks on the album.”

Happy 335th Birthday to the clarinet!